After about 16 years, screenwriter Matt Harris finally sees his work come to life in the new Netflix film “The Starling.”
Starring Melissa McCarthy as Lilly and Chris O’Dowd as Jack, the couple finds their world shattered as their infant daughter Katie dies from SIDS. Each of them deals with the loss in different ways; Jack winds up in a psychiatric hospital, and Lilly toils at home. Both of them, however, find a way of navigating their unexpected path in life with the help of unlikely therapists.
Lilly’s hostility — understandable but bursting in unexpected ways — reaches new limits as a territorial starling attacks her while gardening. The bird, a misunderstood foe, is at once her focal point as she shoves her pain further under the proverbial rug.
As her visits to her seemingly unresponsive husband who attempted suicide come to a screeching halt, Lilly lands in the hands of a veterinarian, Dr. Larry Fine (Kevin Kline), whose former therapeutic skills with people have become a bit rusty. It is this relationship in the movie that is not only key but most interesting and entertaining.
Jack’s journey is an important aspect in helping either create or permanently sever this couple’s relationship, but both Dr. Larry and Lilly find a new way of understanding themselves through each other. It’s an odd relationship bringing humor to what could have been a dry and depressing story.
It is this lightness that allows Lilly’s character to grow, finding meaning in the irrational aspects of life. Of course, when Kline is in character, his genius glows, particularly with McCarthy by his side. The awkwardness turns familiar, which is a natural progression accompanied by a dialogue that connects the two intellectually and emotionally.
The film wavers with its focus on the starling, a less-than-believable CGI “character.” Pushing the comedic envelope in these scenes takes away from the authenticity of the film; however, it does not detract from the message of the need for help during a tragic time.
Both McCarthy and O’Dowd, known comedic actors, show us their deeper skill set in portraying emotionally complex characters, but the two appear awkward together, never finding a comfort level to make us believe they are a couple.
Individually, they shine in their roles. O’Dowd’s brutally honest portrayal of a man who always has struggled with mental health issues and now, feeling pushed deeper into his emotionally dark abyss, he worries there can be no hope for a future.
McCarthy’s raw and equally complex depiction of a woman suffering one of the most excruciating ordeals a mother ever could experience connects us to her. And again, paired with Kline, a man who can exude depth, humor — ever so subtle — and heart, the story easily finds its way to deliver a story of hope.
Director Theodore Melfi, who gave us “Hidden Figures” and “St. Vincent,” pushes too hard with this new film creating contrived situations that fall flat. The bird’s nest, the ladder, the grocery store scene push the limits.
We forgive him as McCarthy gives us gut-wrenching scenes depicting the emptiness she feels and the need to erase the pain as she clears out baby Katie’s things, rubbing out the impression of the crib’s legs in the carpet and purging any and all baby items. She completely understands her character and what each scene must convey.
The script and dialogue are strong with actors who show us they can do so much more than they are known for, but those previously mentioned missteps take away from the overall effect of the film. Mental health, particularly now, is something on the front burner as we all struggle with losses. “The Starling” reminds us we all need a little help sometimes, and it’s OK to seek it.
Reel Talk rating: 2½ stars
Reel Talk’s Pam Powell interviews “The Starling” screenwriter Matt Harris.
Pamela Powell is a film critic located in Bourbonnais and a member of the CFCA and the CCA and is a Rotten Tomatoes certified critic. Writing reviews for 10 years, Pamela also can be found on WCIA TV in Champaign. She can be contacted at pampowell5@att.net.
